Rib
Tina Braegger, Jakob Brugge, Olivier Foulon, Sitara Abuzar Ghaznawi, Thomas Helbig, Jack Jaeger, Erwin Kneihsl, Cosima zu Knyphausen, Vesta Kroese, Gabriel Kuri, Sam Marshall Lockyer, Nie Pastille, Zahra Pourghomi, Joke Robaard, David Weiss, Luigi Zuccheri
26. – 29.03.2026
Exhibition View at Rib with a work by Vesta Kroese, March 2026. Photo: Frans Parthesius
Exhibition View at Rib, March 2026. Photo: Frans Parthesius
Exhibition View at Rib with works by Nie Pastille, Gabriel Kuri, Jack Jaeger, March 2026. Photo: Frans Parthesius
Exhibition View at Rib with works by Thomas Helbig, Cosima zu Knyphausen, and Sam Marshall Lockyer, March 2026. Photo: Frans Parthesius
Exhibition View at Rib with works by David Weiss, Zahra Pourghomi, Sitara Abuzar Ghaznawi, and Sam Marshall Lockyer, March 2026. Photo: Frans Parthesius
Rib is an artist-driven platform founded in 2015 by Maziar Afrassiabi in a former butcher shop in Rotterdam Charlois. Locally rooted and internationally connected, Rib approaches exhibiting as an ongoing self-reflection, exploring how art, audience, and context shape one another. It is a place where artists, ideas, and publics meet in changing constellations. Rib is also the initiator and organiser of Het Zuid Manifest. For Carola Loves Carlos, the second edition of the festival, the space brought together a dense constellation of works by 16 artists, spanning painting, drawing, photography, sculpture, and textile work. All of the exhibited artists were additionally presented in the surrounding festival locations.
Tina Braegger’s work addresses questions related to originality, reproduction, authenticity, repetition, and difference. Since 2017, she has explored these topics through the motif of the „dancing bear,” a bootleg drawing that became an emblem of the American rock band The Grateful Dead in the 1970s. Braegger’s attraction to the bear has little to do with the band‘s music. Instead, her painting practice conceptually engages with how this counterfeit symbol inverts notions of official and unofficial, original and copy. In Braegger’s paintings, as in the concert parking lots that spawned countless variations of this figure, the bear operates according to the logic of the bootleg. The dancing bear absorbs, sponge-like, characteristics that it encounters through the process of its circulation, canonization, and its own fluctuating values—which Braegger addresses in her endless painterly permutations of this figure. For Het Zuid Manifest, the artist created a series of flags featuring the dancing bear, displayed throughout Charlois near the festival's 17 locations.
Jakob Brugge's work deals with the symbolic potential of everyday objects, especially clothes. How does a baseball cap or a belt relate to lifestyle, ideology, or political affiliation? When and how does a specific shirt become a uniform, a sign of belonging, a behavior even? These and other questions are prompted by Brugge's work, which often materializes in sculptures that deviate from mere found objects: Symbolic clothes are fabricated, encased, molded, cast, replicated, and transformed by the artist.
In March, April, May, June Anxiety, Sitara Abuzar Ghaznawi recorded her physical and mental states daily between March and June 2025. Structured as a grid, each day is noted in pencil on a single sheet of paper, forming a continuous record over four months. The sheet is rolled inside out and wrapped in clear foil, and placed in a wall-mounted acrylic box.
The practice of Thomas Helbig contains painting, drawing and sculpture, while each of the media plays on its own field. The focus of the paintings is colour itself – in its intrinsic value, its materiality and the ability to create spatial illusions from countless shades of light and dark.
Jack Jaeger’s work is a playful investigation into the nature of photography. His technique and choice of materials are disconnected from artistic virtuosity. He used ordinary, unheroic objects found in his everyday surroundings, or colored surfaces that he photographed and made into assemblages. These objects refer as much to themselves as to the ambiguity and illusion of the photographed image. He frequently treated his created photographs as objects, applying them as repetitive elements, shaping them in different relations and positions. Often, his pieces are assembled with bolts, nuts, or cables, a conscious addition of visual elements.
Erwin Kneihsl is an artist and alchemist. His black and white photographs transform landscapes, architectures, and again and again dolls, into inner images with a surreal appearance. The almost exclusively analogue hand prints on baryta paper, characterized by deliberate blurring and extreme contrasts, in reminiscence of the attitude of early punk are getting stapled on simple gray cardboard before Kneihsl finally stamps it in the style of classic art photography (EK); albeit with a rather unusual preference for the front of the print.
Cosima zu Knyphausen’s works seem to tap into the sacred space between the intimate and the historic. In her paintings she challenges the depiction and reception of iconic motifs, illuminating specifically the conventions around representation of women in (art-)history.
Often departing from literary or artistic references, her motifs depict an alternative history of female artistry, acknowledging its rich yet muted legacy. Highlighting the entanglement of creation and desire, she repeatedly engages with queer or female spaces: from depictions of gay bars, settings in the artists own studio, mediations on the muse, all the way to illuminations from Christine de Pizan’s literary utopia The City of Ladies.
With an exquisite employment of colour, hazy brushstrokes only just hint at figuration as objects like nails, staples or eggshells occasionally find their way onto the canvas - a welcome disruption as to contrast the tenderness of the motifs, accentuating the bold utterance of zu Knyphausen's work.
Vesta Kroese's Hier / Daar was originally installed between 2011 and 2016 as two identical neon signs on the façades of the Maastunnel's ventilation buildings in Rotterdam. The work presented here is a sketch of "Hier," one half of that complementary pair: when one side read HIER (here), the other read DAAR (there) — so that neither location was ever fixed as simply "here" or "there."
During the festival, Hier / Daar appeared across several formats and locations: a sketch of Hier at Rib, a film at Café Buccaneer, a maquette at Attractiepark Rivoli Rotterdam, and a sketch of Daar at Art Rotterdam.
Gabriel Kuri's Error Bars are a series of oversized matchsticks—carved from wood, finished with mixed media, and shown in various states from unlit to charred—distributed across multiple festival locations (Rib, Oude Kerk Charlois, Attractiepark Rivoli, Planet Cake, and Art Rotterdam), where they became a recurring motif that draws attention to the brittle beauty of the everyday. To read more about the work, refer to the documentation of the Oude Kerk location.
The sculptures by Sam Marshall Lockyer, titled Buckets, are made from fragments of fabric, like shirts, coats, rags and the textile from the London tube and bus seats. These fragments are moulded around and take the shape of existing objects like buckets, kettles, cups and containers.
Nie Pastille’s work begins with fragments of random gestures. It feels familiar, awakens memories, triggers moods, but remains open. Colors, shapes, bodies, structures - they open up worlds that cannot be explained, but felt. Like a walk-in dream world that is not always gentle. What holds the work together is affection and care – less as a theme, rather as an inner force. It conveys a feeling of being safe and secure that is not tied to a place, but to closeness and connection. Other artwork by the artist were presented at Art Rotterdam, Attractiepark Rivoli, Planet Cake, and Oude Kerk Charlois.
In GREEN ASSEMBLY by Joke Robaard, elements from five object-based series—Overlap, Selections, Flapping, L Series, and Ellipses—are brought together, removed from their original vertical alignment, into a newly composed spatial constellation accompanied by a chain of words.
Most clothing is produced at breakneck speed by underpaid and unprotected workers; there is pressure on the seam. The artist turns attention to this charged threshold and asks: what posture does the worker assume while assembling garments — seated, standing, bent forward? Following movements through the skeletal structures of shirts, sweaters, skirts, and flags, she reads gestures embedded in cloth: planting, refusing, protesting, shaking, shrugging. Selecting and cutting become acts parallel to seeing and reading.
Zahra Pourghomi began painting after a visit to the Mauritshuis in The Hague, where she saw Vermeer’s Girl with a Pearl Earring. Struck by the painting, she went home and painted her own version. From there she continued with works she admired, including Van Gogh’s Sunflowers. Alongside painting, Pourghomi is a skilled dressmaker who for years designed and sewed bridal gowns, some of which she sent to young brides in Iran. One of her designs was inspired by a seventeenth-century painting of a woman in a white dress, which she translated into an actual garment. She also explored other interests, such as music. Due to personal circumstances, she eventually had to set these activities aside.
Zahra Pourghomi is also the curator's mother.
In the 1970s, David Weiss concentrated on ink drawings, producing the series Morgengrauen (Crack of Dawn). In this series, rectangular planes of ink and raw paper form ensembles of buildings in various stages of abstraction. Unlike the grand narratives of post-war art, Weiss turned towards undefined, seemingly banal surroundings, something later often revisited in his collaborative work. In these drawings, anonymous cityscapes are captured with a curious and ambiguous gaze, highlighting the melancholic beauty found in urban anonymity. The reduction of architectural construction to lines and planes forms abstract compositions that evoke Concrete Art, while the mood and intensity of expression shift across the series.
Two laminated reproductions of paintings by the venerated painter of Italian rural life and nature, Luigi Zuccheri were presented in Het Zuid Manifest. One in Rib and one in the booth at Art Rotterdam. The originals are held in Italy and due to shipping complications, the works did not arrive to Rotterdam. MMXX sent Rib the reproductions as a placeholder in reference to the correspondence and as an evocation of Zuccheri for the context of Het Zuid Manifest: Carola Loves Carlos.
Artworks:
Tina Braegger, Either love me or leave me alone, 2023
Jakob Brugge, Watch and Learn, 2025
Olivier Foulon, Isa Genzken’s Ring, 2018
Sitara Abuzar Ghaznawi, March, April, May, June Anxiety, 2025
Thomas Helbig, Seltenes Bildnis, 2024
Thomas Helbig, A modernist symbolist, 2025
Jack Jaeger, Untitled, 2002
Erwin Kneihsl, Ohne Titel (Sonne 77), 2021
Erwin Kneihsl, Ohne Titel (Sonne 78), 2021
Erwin Kneihsl, Ohne Titel (Sonne 79), 2021
Erwin Kneihsl, Ohne Titel (Sonne 80), 2021
Cosima zu Knyphausen, Carona Blätter, 2025
Vesta Kroese, Hier (sketch), 2011
Gabriel Kuri, Error Bars, 2026
Sam Marshall Lockyer, Buckets, 2026
Nie Pastille, Teppich, 2025
Zahra Pourghomi, Untitled, 2005 - 2011
Joke Robaard, GREEN ASSEMBLY, 1979, 2020-2026
David Weiss, Untitled (Crack of Dawn), 1974
David Weiss, Untitled (Crack of Dawn), 1974
David Weiss, Untitled (Crack of Dawn), 1974
David Weiss, Untitled (Crack of Dawn), 1974
David Weiss, Untitled (Crack of Dawn), 1974
David Weiss, Untitled (Crack of Dawn), 1974
Luigi Zuccheri, Untitled, 1955/1965
Tina Braegger', Cosima zu Knyphausen' and David Weiss' works were presented in collaboration with Galerie Oskar Weiss.
Jakob Brugge's work was presented in collaboration with Gauli Zitter.
Olivier Foulon's work was presented in collaboration with Etablissement d’en Face.
Sitara Abuzar Ghaznawi's work was presented in collaboration with Shahin Zarinbal Gallery.
Thomas Helbig' and Erwin Kneihsl' works were presented in collaboration with Galerie Guido W. Baudach.
Jack Jaeger' and Joke Robaard's works were presented in collaboration with Galerie Mieke van Schaijk.
Gabriel Kuri's works were presented in collaboration with Esther Schipper.
Sam Marshall Lockyer's works were presented in collaboration with KIN.
Nie Pastille's work was presented in collaboration with JUBG.
Luigi Zuccheri's work was presented in collaboration with MMXX.
Tina Braegger (1985, Lucerne) lives and works in Basel. She is a painter whose work addresses questions related to originality, reproduction, authenticity, repetition, and difference. Since 2017, she has explored these topics through the motif of the „dancing bear,” a bootleg drawing that became an emblem of the American rock band The Grateful Dead in the 1970s. Braegger’s attraction to the bear has little to do with the band‘s music. Instead, her painting practice conceptually engages with how this counterfeit symbol inverts notions of official and unofficial, original and copy.
Jakob Brugge currently lives and works between Paris and Brussels. His work takes the shape of vitrines housing rubber facsimiles of ordinary objects — partially filled boxes that give structure to a haphazard arrangement of hollow cast forms. Braided belts, boat shoes, t-shirts, hats, and high heels press against each other and their containers, forming a loose ensemble whose historical and ideological specificity is masked by their familiarity. Fabricated, encased, moulded, cast, replicated, and transformed, these symbolic clothes ask how a baseball cap or a belt relates to lifestyle, ideology, or political affiliation — and when a specific shirt becomes a uniform, a sign of belonging, a behaviour even.
Olivier Foulon (1976, Brussels) is a Belgian artist based in Berlin whose practice explores art history through appropriation, photography, and subtly staged installations. He has exhibited widely in Europe, received the Villa Romana Prize (2009), and published the artist’s book Isa Genzken’s Ring (2018).
Sitara Abuzar Ghaznawi (1995, Ghazni, Afghanistan) lives and works in Basel and Sarnen, Switzerland. In her collages, sculptures, and installations, Sitara Abuzar Ghaznawi juxtaposes robust, monumental forms with delicate, perishable materials sourced from domestic environments, creating a visual dialogue between historic codes, questions of value, and political reflections. She employs mass-produced materials such as aluminum foil, off-cuts, and gaffer tape, intentionally maintaining their humble origins without attempting to upcycle them.
Thomas Helbig is an artist based in Berlin. The practice of Thomas Helbig contains painting, drawing and sculpture, while each of the media plays on its own field. The focus of the paintings is colour itself—in its intrinsic value, its materiality and the ability to create spatial illusions from countless shades of light and dark. In contrast, his collage sculptures demonstrate a different kind of transformation of the source materials he uses. His repertoire is based on a fundus of discarded, thrown-out things, as well as kitschy plastic sculptures. Helbig mixes and connects these disparate elements into new forms, which are displayed as coded messages from an enigmatic present. Helbig attended the Academy of Fine Arts, Munich and Goldsmiths, University of London, from 1989 to 1996, and is represented by Galerie Guido W. Baudach, Berlin.
Jack Jaeger (1937- † 2013) began his career as a cameraman, filmmaker, and film stills photographer. After the age of fifty, he turned to sculpture, incorporating vivid, colourful photographic snapshots into three-dimensional works. His practice is a sustained exploration of the possibilities of photography, understood not only through technical means but equally through a social horizon and the personal reference points of the photographer. Jaeger experimented with abstract photography, placing it within kinetic mobiles and lamps, and introducing collage elements alongside the photographic. Assembled from simple materials such as bolts, nuts, and wire, his sculptures recall the design sensibility of the 1960s and 70s, with a free approach to formalism, kinetic tableaux, and table-top compositions. Beyond his artistic practice, Jaeger was also active as a collector, film editor, and curator, co-editing eight issues of ZAPP Magazine (1994–1996), a video-based art journal, and curating early exhibitions of artists including Carsten Höller, Roman Signer, Elke Krystufek, Rachel Harrison, and Lily van der Stokker. Jack Jaeger lived in New York City and Amsterdam.
Erwin Kneihsl is an artist and alchemist. His black and white photographs transform landscapes, architectures, and again and again dolls, into inner images with a surreal appearance. The almost exclusively analogue hand prints on baryta paper, characterized by deliberate blurring and extreme contrasts, in reminiscence of the attitude of early punk, are stapled on simple gray cardboard before Kneihsl finally stamps it in the style of classic art photography (EK); albeit with a rather unusual preference for the front of the print.
Cosima zu Knyphausen (born 1988) is a Chilean artist based in Berlin. Her paintings occupy the space between the intimate and the historic. Often departing from literary or artistic references, she engages with iconic art historical motifs as a way to reflect on queer and female spaces. Her practice encompasses painting with vinyl, oil, pastel, ink, fabric scraps, and eggshells, where hazy brushstrokes hint at figuration while physical materials like nails, staples, or shell fragments occasionally disrupt the surface, contrasting the tenderness of the motifs.
Vesta Kroese works as a visual artist, educator and facilitator. Combining conceptual and experiential learning, she is interested in the influence and relationship between the individual (the self) and the systems in which we live. Her inspiration to create comes from experimenting with living life fully towards a world that works for all. Site specific projects are informed by co-creation with the local context (e.g. spatially, historically, socially), leaning on values of interdependence and generosity. Formally she beholds a master in Architecture from TU Eindhoven and Sculpture from RCA London. She has shown work in galleries, shops and public spaces in Europe (including UK) and participated in art residency programs in The Netherlands, England, Germany and Spain.
Gabriel Kuri was born in 1970 in Mexico City, Mexico. He studied at Goldsmiths College in London and at the Escuela Nacional de Artes Plásticas, UNAM in Mexico City. The artist lives and works in Brussels. Gabriel Kuri’s œuvre encompasses diverse media including sculpture, collage and installation, often using repurposed natural, industrial, and mass-produced objects (insulation foam, shells, soda cans, stones, or ticket receipts, for instance) to craft eloquent works of art. Kuri’s works often include traces of past human activities, such as empty bottles or cans, cigarette butts or ticket stubs. They function as signs of spent time, energy or currency — a recurring theme in the artist’s work.
Sam Marshall Lockyer (Brussels/London) is an artist whose practice spans painting, sculpture, drawing, and film, through which she investigates and negotiates notions of failure, grandeur, scale, rules, and humour.Recent exhibitions include: Boat Show at Graw Böckler in Berlin, DE (2025), Channeling at Rue Americaine in Brussels, BE (2025), Science Fiction at The Briefing Room in Brussels, BE (2025), Centre Line at Harrow Project Space, in Harrow, UK (2024). She was a resident at De Ateliers in Amsterdam (2020-2022) and did the postgraduate Drawing Year at the Royal Drawing School in London(2016). She graduated with a BSc in Political Sciences from London School of Economics in 2014.
Nie Pastille lives and works in Cologne. The artist attended the Sandberg Institute in Amsterdam and the University of Fine Arts in Arnhem. Pastille's paintings on linen and chipboard take the form of unconventionally constructed wall objects: canvases are sawn apart and reassembled into rounded, irregular shapes with soft edges and open partitions, sometimes incorporating painted stuffed linen cushions or papier-maché elements. Drawing is central to her process, often informing the origin of a work. Colorful and dreamlike, her compositions move between esoteric imagery and psychedelic figuration.
Zahra Pourghomi (1943, Tehran) began painting after a visit to the Mauritshuis in The Hague, where she saw Vermeer’s Girl with a Pearl Earring. Struck by the painting, she went home and painted her own version. From there she continued with works she admired, including Van Gogh’s Sunflowers. Alongside painting, Pourghomi is a skilled dressmaker who for years designed and sewed bridal gowns, some of which she sent to young brides in Iran. One of her designs was inspired by a seventeenth-century painting of a woman in a white dress, which she translated into an actual garment. She also explored other interests, such as music. Due to personal circumstances, she eventually had to set these activities aside. Zahra Pourghomi is also the curator's mother.
Joke Robaard works at the intersection of archive and gesture. She is currently developing two interconnected bodies of work: an expanding archive of images and texts drawn from newspapers and magazines (1978–present), and a series of textile fragments titled Se-lections, composed of fabric pieces that refer to gestures, actions, letters, and words.These two collections continuously intersect and activate one another—sometimes as performative arrangements, as in Small Things That Can Be Lined Up (IFICD, 2016), and sometimes disseminated through publications such as Archive Species (Valiz, 2018), produced in collaboration with Camiel van Winkel, and the booklet OVERLAP (Art Island, 2023). While the archive accumulates and expands, the seam works operate through reduction and deconstruction. The artist moves between fullness and absence, assembling and dispersing meaning through acts of selection and displacement.
David Weiss (1946/ †2012 in Zurich), lived and worked in Zurich, Los Angeles and Carona. He grew up as the son of a parish priest and a teacher. After discovering a passion for jazz at the age of 16, he enrolled in a foundation course at the Kunstgewerbeschule, Zürich, where in his first year of study he befriended fellow artist Urs Lüthi. Having rejected careers as a decorator, a graphic designer and a photographer, Weiss soon came to view a career as an artist as a realistic prospect. He studied at the Kunstgewerbeschule, Zürich (1963–64), and the Kunstgewerbeschule, Basel (1964–65); he subsequently worked as sculptor with Alfred Gruber (Basel) and Jaqueline Stieger (England). In 1967, he worked at the Expo 67 in Montreal, before traveling to New York, where he got to know the important minimalist art of the time. Between 1970 and 1979 he published books in collaboration with Lüthi. For most of 1975–78, he spent a great deal of time drawing in black ink, and had exhibitions at galleries in Zürich, Amsterdam, Cologne, and Rotterdam. In 1979, Weiss began his celebrated collaboration with Peter Fischli, forming the duo Fischli/Weiss. Together, they radically explored the boundaries of the everyday, the absurd, and the comic, using diverse media including film, photography, installation, and sculpture. The duo has been the subject of large-scale surveys at numerous museums across Europe and North America, recently in 2016 at the Solomon R. Guggenheim Museum in New York and the Museo Jumex in Mexico City. Their work has been featured in Documenta, Skulptur Projekte Münster, and six Venice Biennales, where they represented Switzerland in 1995 and were awarded the Golden Lion in 2003 for their installation Questions (1981–2002).
Luigi Zuccheri (b. 1904, Gemona del Friuli; d. 1974, Venice) was born on March 13, 1904 in Gemona del Friuli. He attended the gymnasium in Udine and high school in Venice. Later on he also took private painting lessons in both cities with two different teachers. Many places cross Zuccheri’s path: the Friuli region–the family palace is located in San Vito al Tagliamento–Venice, Paris for a formative trip in 1929-30, and Florence in the late 1940s.
Esther Schipper founded her first gallery in Cologne in 1989. After German reunification, she opened a satellite space in Berlin in the mid-1990s, where it has since developed an influential international program. Since then, the gallery has expanded globally, integrating Johnen Galerie in 2015 and opening spaces in Seoul, Paris, and New York. Its activities extend beyond exhibitions to include lectures, performances, and events, reinforcing its role as a discursive space for experimentation.
Etablissement d’en face is an art space in central Brussels. It aims to present artistic practices to an international audience by offering conditions of professional production to a wide spectrum of contemporary artists. Founded in 1991 by the artists Alec De Busschère, Delphine Bedel, Christophe Draeger and Patrick Everaert, it was originally located in the Rue d’Artois and moved to the Rue Antoine Dansaert in 2002. Over the years it has been programmed by various individuals. Currently, Ryan Cullen, Emeline Depas, Olivier Foulon, Jean-Paul Jacquet, Nina Janssen, Henrik Olai Kaarstein, Stefanie Snoek, and Harald Thys operate Etablissement d’en face.
Gauli Zitter is an art gallery founded in 2023 by Piero Bisello and Philip Poppek. It shows Belgian and international artists in its location in Brussels and international fairs.
Galerie Guido W. Baudach is a gallery for contemporary which was founded in 2001 on the base of a former project space. Since then, it has presented a changing program of exhibitions infall kinds of media. Currently the gallery represents fifteen international artists. The gallery participates in art fairs and publishes artist books and catalogs.
JUBG is a Cologne based gallery for contemporary art, founded in 2020 by Jens-Uwe Beyer, Albert Oehlen and Alexander Warhus. In 2022, the gallery’s own label was added. JUBG wants to be understood as a space for conversation and inspiration that connects art and music, sound. JUBG passionately works with artists, musicians, writers, whether from the underground or acclaimed positions. The gallery program shows international artists and influential musicians combined in unique collaborations.
KIN is a gallery founded by Nicolaus Schafhausen in 2023 located in the heart of Brussels. With a focus on artistic positions that defies easy categorisation, the program strives for an interdisciplinary approach. KIN stands for kinship and, as such, collaboration with others is part of the gallery’s DNA. KIN is a platform for artistic exchange, it presents exhibitions, develops projects, and programs events.
MMXX is an artist-led project founded by Emanuele Marcuccio and Daniele Milvio in 2020 located in Milan. MMXX facilitates exhibitions and promotes critical discourse.
Galerie Oskar Weiss was founded in 2025 in Zurich by Oskar Weiss. After running Weiss Falk for nine years in Basel and Zurich, he resumed all collaborations and representations of the former program. The gallery publishes books under its own publishing house, Hacienda Books, and runs its pop-up art cinema Kino Süd.
Galerie Mieke van Schaijk hangs as a bespoke dress in the small yet sturdy Dutch
wardrobe in the city of ‘s-Hertogenbosch. Completely unique, and delicate in detail, it
is a piece that follows no generic pattern in favor of the risk to be something other. Not
simple/easy to hold, (and why should it?) the fabric is woven with an idiosyncratic thread, with an imaginative approach. Appliquéing artistic visions since 2012 and hemmed by the stitch of contemporary, the program cuts a shape proportioned meticulously through the ‘savoir-faire’ of balancing asymmetric creative practices, unafraid to be bejeweled, sheer, or figure-hugging [Text by Fiona Mackay].
Shahin Zarinbal is a contemporary art gallery based in Berlin, working with international artists across generations and disciplines. Since its founding in 2022, the gallery has supported rigorous artistic practices, with a program shaped through ongoing dialogues grounded in the specific concerns and methodologies of the artists’ work. Spanning sculpture, installation, painting, and conceptual practices, the gallery approaches exhibition-making as an active, collaborative process that fosters long-term relationships and an organically growing network of artistic exchange.